*MULTIMEDIA PRESENTATIONS*

Multimedia Presentations by NYU Cinema Studies graduate students, Fall 2015

Thanks to everyone who participated in the course! For an overview of the course, visit the Interactive Cinema & New Media website.

Guidelines for turning your final research paper into a multimedia essay & presentation: Post a link and/or upload your multimedia presentation below. Include a short (1 paragraph maximum) description of your topic. If you are posting your multimedia presentation on your own blog, then just add a link to your blog below. If you are uploading media such as a powerpoint or pdf, click on the Add Media icon (first icon on the toolbar) and upload your file from your computer. As backup, please email me the link and description of your multimedia presentation and/or your media (e.g. pptx) before our final class.

For more details, learning objectives and examples, follow the multimedia guidelines posted on this page: https://interactivemedia2015.wordpress.com/multimedia-presentation

LINKS AND PROJECT DESCRIPTIONS:

*Scroll down for presentation photo gallery from the last day of class.*

  • KELSEY CHRISTENSEN – “THE RESTITUTION OF THE AURA IN INTERACTIVE ART.” My paper looks to foundational media scholars such as Walter Benjamin and John Berger to access the affects of interaction. Of particular relevance to Benjamin and John Berger are the affects of mechanical reproduction on art, which I believe are reconstituted due to one’s inability to mechanically reproduce interactions themselves. The multimedia presentation is an interactive approach to my paper itself, with forking paths, so the user might access the paper in an order which is unique, and individuated. Interactive Aura, a tumblr.
  • LAURA SCHWAB – “IMAGINING AND EXPLORING DIGITAL ENVIRONMENTS THROUGH NEW MEDIA.” We often focus on interactivity of the user through a user interface, whether it be a computer, a television, or a movie screen, but what happens when the images displayed create an purely virtual or digital environment for the spectator?  I will explore not only what it means for the spectator to immerse themselves into a digital world but, also how these artists move beyond the traditional screen to create an environment and what this means within film studies. Blog post
  • Jasper Lauderdale, “Empathy and the interactive documentary mode.” I argue that the interactive documentary mode can provide its viewser with alternate means of engaging with nonfiction film content and accompanying paratextual material. Such projects can serve to illume realities of gendered violence performed by or acted upon multiply marginalized women in the alleged third world. More significantly I address the potential of such works to function as mobilizing, provocative calls to activism, advocacy and restorative social justice, and the concomitant potential for the viewser to become an interactant both within and (hopefully) beyond the texts. Exploring the potential of such interactive works to increase active awareness and even to motivate political activity and generate empathy should help to enlighten us as to how the user complicity so intrinsic to interactive cinema can complicate and advance the aims of conventional socially oriented documentary practice.
  • Da Ye Kim- “The Emerging Possibility of the “In-Between”-Seeing a Hopeful Future of Interactive Films in South Korea”-The “tech-savvy” South Korea is filled with interactivity in everyday life. Many interactive artists are internationally acclaimed, with Paik Nam June being a pioneer. Being caught between the realm of art and commercial technology, the specific notion of cinema in the country, along with several practical reasons, has halted native interactive films to come to a full circle yet. However, the recent movement towards media convergence shows a hopeful future of South Korean interactive films. Check out “Da Ye’s Transnational” for more.
  • PEDRO CABELLO – “THE DARK SIDE OF CROWDSOURCING FILM PROJECTS, OR HOW FREEDOM WAS SWALLOWED BY NEOLIBERALISM”-My article deals with the series of documentaries Life in a Day as examples of the use of crowdsourcing. On the one hand, the movies are successful in terms of taking advantage of a collective intelligence (Lévy) and enhancing a participatory culture (Jenkins); on the other, they perpetuate the logic of the neoliberal system creating a biased neoliberal participation (Hands, Fish). The geographical differences determine certain resistances and criticism towards the economy of the late capitalism. That could be found, especially, in Italy in a Day, where one can see the depiction of a more activist society. Probably, the result of Spain in a Day (still in the process of editing) is to be similar to the Italian documentary. In any case, insofar as the the production companies co-opt the creativity of the contributors, they will not feel they contributions meaningful and substantial. In order to achieve an implicit participation (Schäfer), the solution will be to give back to the contributors the possibility of remixing and reappropriating their material.https://prezi.com/jfdvegivkjgq/life-in-a-day/ & watch Pedro’s critical remix here [ask me for password]
  • Tianyun Qu – “The Spectatorship of Airplane Cinema” – An exploration of the three aspects of the spectatorship of a “new” cinema field – airplane cinema. Despite that the idea behind the term has long become a norm in modern human society, it has never really entered the scope of academic research or aroused any attention from film study scholars. I raise the following arguments of the spectatorship of airplane cinema: First, the spectator of airplane cinema is a self-aware one. Second, the theory of medium specificity contributes to the uniqueness of airplane cinema spectatorship. Third, the spectator of airplane cinema is always on an active role while having cinematic experiences. TianyunQu Final Paper Presentation
  • YAOLIN JIANG – “THE PARTICIPATORY CULTURE IN LEAGUE OF LEGENDS.”  Participatory culture is characterized by the relative low barriers to civil engagement, strong support for creating and sharing one’s creation, and some type of informal mentorship (Jenkins 3). These characteristics are applicable and can be found in LoL both within and beyond the game play itself.  The participatory culture of LoL is composed by the collaboration of game producers, community-based players, and professional teams and gamers, and it further embodies the transmedia storytelling Jenkins proposes. Prezi
  • JIA SHI – “MULTIPLE AUTHORSHIP IN INTERACTIVE FILMS” – The different spectatorship distinguishes interactive cinema from traditional cinema.With the changes in interactive cinema, the relationship between author and spectator is changed. Interactive cinema breaks the auteur theory which holds the point that the director is the single author of the film.The spectators’ position of co-author in interactive cinema gives the spectators a much more complicated identity than those in traditional cinema, and brings about a revolution of traditional spectatorship. Multiple Authorship in Interactive Films – Jia
  • Jedy Chen – “Externalizing the Mind in Interactive Cinema – Embodiment of Heart Rate in Cinema” – Manovich pointed out through the history of media, from oral narratives to image, cinema, and TV, there was a tendency to externalize mind. Based on my own project named “Story from the Heart”, my paper applies Manovich’s approach to explore what such externalization will be like in the realm of interactive cinema and makes a prediction of the destination of such tendency. The multimedia presentation includes a video documentation of “Story from the Heart”. Blog Post of Externalization of Mind in Interactive Cinema.
  • Hanzong Tian-“Extension of new media transmission”-. I will use the existing new media technology to predict the development of the new media transmission: The mode of new media transmission will be no longer limited to the audio-visual language. It will extend to multi-sensory signals. Tactile signals, olfactory signals, and taste signals will be included in the next generation signals of the new media transmission.presentation 
  • RAY DWECK – IS VIRTUAL REALITY BETTER THAN CINEMA AT ENGENDERING EMPATHY?
    My paper discusses whether and to what extent virtual reality simulations can engender empathy in users, ultimately challenging the increasingly popular notion that empathy is more likely achievable through embodied simulation in VR than through character “identification” in cinema. The paper is prompted by the currently popular promotion of VR as an ideal medium for artificially arousing empathy — given its ability to accurately and believably simulate the spatio-temporal perception of separate identities and environments. I will discuss the effectiveness of particular aspects and aesthetics of VR for engendering empathy, including the lack of self/other differentiation, lack of focalized perspective, and user agency over narrative events.

9 responses to “*MULTIMEDIA PRESENTATIONS*

  1. PEDRO CABELLO – “THE DARK SIDE OF CROWDSOURCING FILM PROJECTS OR HOW FREEDOM WAS SWALLOWED BY NEOLIBERALISM”
    My article deals with the series of documentaries Life in a Day as examples of the use of crowdsourcing. On the one hand, the movies are successful in terms of taking advantage of a collective intelligence (Lévy) and enhancing a participatory culture (Jenkins); on the other, they perpetuate the logic of the neoliberal system creating a biased neoliberal participation (Hands, Fish). The geographical differences determine certain resistances and criticism towards the economy of the late capitalism. That could be found, especially, in Italy in a Day, where one can see the depiction of a more activist society. Probably, the result of Spain in a Day (still in the process of editing) is to be similar to the Italian documentary. In any case, insofar as the the production companies co-opt the creativity of the contributors, they will not feel they contributions meaningful and substantial. In order to achieve an implicit participation (Schäfer), the solution will be to give back to the contributors the possibility of remixing and reappropriating their material.

    https://prezi.com/jfdvegivkjgq/life-in-a-day/

  2. RAY DWECK – IS VIRTUAL REALITY BETTER THAN CINEMA AT ENGENDERING EMPATHY?
    My paper discusses whether and to what extent virtual reality simulations can engender empathy in users, ultimately challenging the increasingly popular notion that empathy is more likely achievable through embodied simulation in VR than through character “identification” in cinema. The paper is prompted by the currently popular promotion of VR as an ideal medium for artificially arousing empathy — given its ability to accurately and believably simulate the spatio-temporal perception of separate identities and environments. I will discuss the effectiveness of particular aspects and aesthetics of VR for engendering empathy, including the lack of self/other differentiation, lack of focalized perspective, and user agency over narrative events.

  3. How Third Person Perspective Works Better In VR Environment
    I discuss how the first person perspective function better in the VR environment from the aesthetic perspective.

  4. Pingback: Multimedia Presentations | Interactive Media Archive·

  5. Pingback: NYU Grad Student Presentations Added! | Archiving Interactive Cinema & Mixed Media·

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